20/20 Hong Kong Print Art Exhibition

Hong Kong Heritage Museum</a>, is now in its eighth edition since its debut in 2001. The theme of this Triennial is “Multiverse”, exploring how the function of posters as a medium for conveying messages can be extended in an era where digital, technological, and multimedia techniques are widely used. We invite designers worldwide to unleash their creativity to pioneer new fields that are diverse and interdisciplinary. The call of entry of this Triennial is divided into four categories, namely “Thematic: Multiverse”, “Promotion of Cultural Programmes”, “Commercial and Advertising” and “Animated Poster”. A total of 3,189 entries from 55 countries/ regions were received.<p><br></p>" />

Hong Kong Heritage Museum</a> by The Tsui Art Foundation. It includes many exquisite thangka paintings dating from the 17th to the 20th centuries, as well as gilt-bronze Buddhist statues and other rare artefacts such as Buddhist scriptures and ritual objects. These items all illustrate the distinctive refined artistic style of Tibetan Buddhism and reflect their specific historical contexts.</p><p>A unique artistic form of Tibetan Buddhism, thangkas are paintings that typically depict major Buddhist deities or respected religious patriarchs encompassed by their divine entourage, and illustrate their life stories and surroundings. The thangkas on display offer viewers the opportunity to learn more about this unique and beautiful artform from the perspectives of history, culture and art. The gilt-bronze Buddhist statues on display demonstrate the makers’ exquisite craftsmanship and ingenuity in metal craft, and also reflect the mutual influence of different cultures over various periods.</p><p>Supplementing the exhibition is a multimedia display giving an account of the pilgrimage journey of the great Buddhist master of the Tang dynasty, Xuanzang, and exploring his contribution to cultural exchanges between China and various foreign countries. The display also explores the impact of Buddhism on Chinese language and culture, giving visitors a comprehensive learning experience.</p><p><br></p>" />

Bradford. In an exhibition that extends the artist’s recent formal and thematic investigations while pushing his practice towards distinctly new inventions, Bradford probes the enduring impact of colonialism and concepts of ‘otherness’ through the lens of individual experience.&nbsp;</p><p>Consisting of around 20 new paintings, ‘Exotica’ introduces a signature staining technique, wherein the artist uses caulk to create shadow-like imprints upon the canvas. These forms inject Bradford’s layered compositions with a trace of fantasy, strangeness, and memory. In its diversity of form and material – also encompassing works created with fabric dye, inked-paper, and oxidized paper – the exhibition reflects the continued evolution of Bradford’s play with figuration.&nbsp;</p><p>The exhibition’s title references a 1968 encyclopedia that catalogued exotic plants from a western perspective, for a western reader. The text took on special significance for Bradford in the way it reflects a colonial impulse to document and categorize the things perceived as ‘other,’ and the idea that naming something equates to understanding. Bradford took this catalogue as a starting point to consider how we create, imagine, and internalize such concepts of the ‘exotic,’ turning inward to examine his own preconceptions of what things are, and how those same preconceptions define his reality and experience.&nbsp;</p><p>Fifteen detail works take viewers into the woods – not any woods, but the woods of the artist’s imagination. As a black man growing up in an urban environment, Bradford attends to his own perceptions of the woods as something dangerous and foreign. These richly layered paintings extend Bradford’s treatment of the themes of migration and displacement, evoking the threats of a journey to, and through, the unknown.&nbsp;</p><p>The exhibition is anchored by five large-scale figurative works centered on the agave plant. A monocarpic variety, agave plants bloom only once, at the end of their lifecycle. Bradford was drawn to the idea that agave exposes its richness and full embodiment only once within its life, as a metaphor for peoples whose colonized conditions require them to conform and adapt to their circumstances, rather than to flourish.&nbsp;</p><p>Notably, this new body of works signals a significant shift in perspective, setting the viewer eye-to-eye with Bradford’s compositions and the fictions of the ‘exotic’ they contain.&nbsp;</p><p><br></p>" />